We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being
We as a music community ( jazz, pop, classical, students, rock, indy etc etc) need to get out and start supporting each other more. One of the most fascinating dimensions of this music, today is all the people involved in it. But, when I attend a concert, club gig or student recital, it's very shocking to see the empty seats. In the last few weeks, I noted with great interest that this was evident. In short, people need to start to support each other more. From within the ranks. We are creative people, stepping out to hear a friend or a person who's trying is an asset to all of us. Listen to what the music does, not what it doesn't. We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being. Show up for a few sets.Buy the Cd's. Take note that we need a collaborative approach to make this successful.I believe strongly that if diligently and judiciously executed,it would be of mutual benefit to everyone.Strengthen the music field and effectively recharge it from within the ranks.This is very important ! The music will grow- the musicians will foster more gigs and the scene will get stronger. A lot of us from my generation,when we were young musicians, there was an idea that we would be playing this music,or at least some of us would be playing this as our principle means of support. Now the "night club circuit" can no longer support us ( read that as "any of us" ). Education is the big portion of our income. We all do clinics, residencies and all the other educational components , let alone the high school or college positions or straight up private teaching. As a young player I would go to my mentors gigs and check out how he dealt with the reality of PLAYING. Even as a teenager, when I studied with my local heros like Joe Miller and Sam Correnti I learned a lot about the reality. At that point the reality was learning transposition from Joe and Sam. Joe would give me fake books to transpose, there was no REAL BOOK then, so it was good ol' VOL. 1. Plus other" bop" or swing books. Through doing that with Joe, I eventually learned to transpose at sight as a teenager. Yes Joe Miller, he was the best local jazz saxist I could of dreamed of as a teacher. He played King Super 20 saxes and had a great sound on alto and tenor, and he played RICO reeds! He turned me on as a kid to RICO brown box reeds on my Brillhardt mouthpiece. Joe was hip to Art Pepper and Bird and the cats.The baddest player in my home town-bar none for jazz. But the reality was , he also made a living playing dance gigs. He was great at it ! They played my high school prom. They played a few pop tunes " of the era" but mostly standards for dancing. Ok- From those relationships I would know what a jazz musician was. Later with guys like Charlie Mariano, Joe Viola and Andy McGhee at Berklee School as well, and years later Sal Nistico, Stitt and Don Christlieb etc. This is why I tell my students to attend gigs, buy Cds, listen and form bands to jam. Make it happen! Jam more, session on days your off, form "head bands" and just play. I do tell students of the "reality in my heart and spirit" but if they don't experience it it does not mean a lot. People need to play together, get into the basement and jam!! Look at each other and say yea. REALITY LESSON !!! Knowing_MELODYS_so people could identify and dance. A life lesson there dear reader! Knowing how to play a dance gig and survival chops to make money. Joe always said, " It beats putting cans on the wall in the supermarket ! "....I never forgot that. Plus as I said, he could blow. We did the old play alongs ( before Aebersold !! ) with the Mal Waldron trio playing those blues heads Gene Ammons recorded. Joe knew the real deal, and as I said, was the best jazz saxophonist in the city. Plus a teacher of reality. His karma paid off too, years later he won the lotto. When I came in with Charles Lloyd records trying to copy the heads like " Sombreo Sam" Joe never flinched. He was that cool. Now Mr. Correnti, taught me flute. Another lesson in itself as today, the flute double is non-existant to a large degree. This was when I was in 10th grade in school too. Sam was cool, always dressed in a hip coat and tie. An old school swing man who knew a lot of the major players , and taught Gerry Muligan when he lived in the area. We used to get the David Gornstein books right from David, as Sam knew him. Sam also made me aware of being dressed right. I always was aware of the clothes a musician wore. REALITY of a very important kind. Plus- flute. Lots of lessons NOT in books.
HERE ARE SOME OF MY...Improvising outlines to shed.There are 6 pages here- many students that I have taught via Skype or in New York City, Reading, Pa have improved greatly by this kind of study. Write lines like mine, then based on what YOU hear. Bring the YOU out in what you do.Go slow & listen. Hope you enjoy them. Thanks! TIM PRICE
My vision of music that echos humanity is that we can, and should strive to contribute to a better world through music. By bring together musicians and music lovers who are concerned about the welfare of humanity and our planet we can use music to improve the world!That way,we can enjoy the music twice. Once through listening, creating/recording/sharing and again through others enjoyment and enrichment.Music that echos humanity..is something I always felt.No matter where the musician creates and performs,we are approaching music’s singular destination every time.That state beyond the everyday sensory experience, adding something to the music and being at one with and literally becoming the music.No other job or life style contains that.Check that out..
Musicians need to add compassion,generosity and kindness to their message,that helps to start crystallizing our thoughts,to help the music reach out more to the peoples ears. I am grateful that nothing is out of the realm of possibility.
You recognize when you feel good. You know when you feel at your best—at the top of your game. You realize when you enter harmonious relationship with family and friends—maybe even with foes. These are emotional states you experience. They range from negative and protective to joyous and ecstatic. The positive ones include love, peace, freedom, joy, empowerment, generosity, trust, tolerance, faith, patience, safety, honesty, and more.
These are emotional states you experience. They range from negative and protective to joyous and ecstatic. The positive ones include love, peace, freedom, joy, empowerment, generosity, trust, tolerance, faith, patience, safety, honesty, and more.
Of course most of us most of the time want the good feeling emotional states. With music, we have the escape button most do not in society today.Perhaps you think you are not as consciously aware of such states as the next person. Whether or not you are, I believe that you can grow into broader and deeper awareness of these states. Only you can determine if you want greater awareness, or whether you deserve to experience these states, or even when you are ready to explore your potential. I encourage you to choose growth. Look forward, as I say...forward motion. It's the only way to go.
Enjoy your Christmas holidays everyone...Happy New Year to you all. Tim Price Bloggin' For D'Addario Woodwinds
